RCA Alphabetical |
The RCA Heifetz discography - alphabetical The Authorized Published Recordings |
|
|
Composer | Date | Matrix | Take |
Achron, Joseph | |||
Hebrew Dance, Op. 35, No. 1/Isidor Achron, pianist | 9/24/24 | C‑30931‑2 | |
Hebrew Air Lullaby, Op. 35, No. 2/Samuel Chotzinoff, pianist | 10/19/22 | B‑27034‑1 | |
Hebrew Melody, Op. 33/Orchestra conducted by Josef Pasternack Arr. for violin & piano 1st recording: Isidor Achron, pianist 2nd recording: Emanuel Bay, pianist |
12/19/17 12/31/26 10/19/46 |
C‑21268‑3 CVE‑27034‑3 D6‑RC‑5647‑2A |
|
Stimmung, Op. 32, No. 1/Isidor Achron, pianist | 9/24/24 | B‑30936‑1 | |
Aguirre | |||
Huella (Cancion Argentina),zOp.49/Emanuel Bay, pianist | c.1945 | 73183 | |
Albeniz | |||
Sevillanas (No. 3 from Suite Espniola, Op. 47)/Arpad Sandor, pianist (previously unissued in the United States) | 2/34 | 213‑6056‑2 | |
d'Ambrosio | |||
Serenade, Op. 4/Samuel Chotzinoff, pianist | 10/28/19 | B‑23405‑5 | |
Arensky | 10/17/46 | D6‑RB‑3104‑2A | |
Concerto in A Minor, Op. 54: 'Tempo di valse'/Emanuel Bay, pianist | |||
Piano Trio in D Minor, Op. 32/Leonard Pennario, pianist, Gregor Piatigorsky, cellist | 10/17/63 | PR‑A5‑4586‑4589 | |
Bach, Johann Sebastian | |||
Chaconne (from Partita No. 2 for Unaccompanied Violin, BWV 1004 | 9/16/70 | 7,R‑RS‑4104 | |
Concerto No. 1 in A Minor, BWV 1041/Los Angeles Philharmonic/Alfred Wallenstein, conductor | 12/6/53 | E3‑RC‑3326‑3328 | |
Concerto No. 2 in E, BWV 1042/Los Angeles Philharmonic/Alfred Wallenstein, conductor | 12/6/53 | E3‑RC‑3329‑3331 | |
Concerto for Two Violins & Orchestrai n D Minor, BWV 1043 | |||
1st recording: RCA Chamber Orchestra/Franz Waxman, conductor (Heifetz plays both solo parts) |
10/14,19/46 | D6‑RC‑5630‑1 |
31‑2 32‑1 33‑lA |
2nd recording:
Erick Friedman, violin/New Symphony Orchestra of London/Sir Malcolm Sargent, conductor |
5/19,20/61 | M2‑RY‑3422 | |
Gavotte & Musette (from English Suite No. 3, BWV 808)/Arpad Sandor, pianist (previously unissued in the U.S.) | 3/34 | OB‑6041‑1 | |
Gavottes I & II (from English Suite No. 6, BWV 81/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑3101‑1 | |
Minuets I & II (from Partita No. 3 for Unaccompanied Violin, BWV 1006) (previously unissued in the U.S.) | 12/29/25 | CVE‑34072‑3 | |
Sarabande (from English Suite No. 3, BWV 808)2/Arpad Sandor, pianist/(previously unissued) | 2/6/34 | BS‑81350‑4 | |
Sinfonia No. 3 in D, BWV 789 (Arr. for strings)/William Primrose, violist/Gregor Piatigorsky, cellist | 8/18/60 | L2‑RB‑3318 | |
Sinfonia No. 4 in D Minor, BWV 790 (Arr. for strings)/William Primrose,violist/Gregor Piatigorsky, cellist | 8/16/60 | L2‑RB‑3316 | |
Sinfonia No. 9 in F Minor, BWV 795 (Arr. for strings)/William Primrose,violist/Gregor Piatigorsky, cellist | 8/15/60 | L2‑RB‑3317 | |
Sonatas & Partitas for
Unaccompanied Violin: Sonata No. 1 in G Minor, BWV 1001 |
|||
1st recording (previously unissued
in the U.S.) |
12/35 | 2EA‑2600‑2,3001‑1 |
02‑2 03‑2 |
2nd recording | 10/21,29/52 | E2‑RC‑1052‑1055 | |
Partita No. 1 in B Minor, BWV 1002 | 10/23,29/52 | E2‑RC‑1064‑1067 | |
Sonata No. 2 in A Minor, BWV 1003 | 10/24,25,29/52 | E2‑RC‑1072‑1075 | |
Partita No. 2 in D Minor, BWV 1004 | |||
1st recording | 12/35 | 2EA‑2584‑2,85‑2, |
86‑3 91‑2 92‑1 93‑1 94‑1 |
2nd recording | 10/24/52 | E2‑RC‑1068‑1071 | |
Sonata No. 3 in C, BWV 1005 | |||
1st recording (previously unissued
in the US.) |
12/35 | 2EA‑2595‑1 |
96‑1 97‑1 98‑1 99‑3 |
2nd recording | 10/22,29/52 | E2‑RC‑1060‑1063 | |
Partita No. 3 in E, BWV 1006 | 10/22/52 | E2‑RC‑1056‑1059 | |
Prelude, Loure, Gigue (Recorded Live) | 10/23/72 | ||
Bax | |||
Mediterranean' ‑ Emanuel Bay, pianist | 10/17/46 | D6‑RB‑2197‑2 | |
Bazzini | |||
La Ronde des lutins (Scherzo fantastique), Op. 25 | |||
1st recording: Andre Benoist, pianist | 12/19/17 | C‑21271‑2 | |
2nd recording: Emanuel Bay, pianist | 4/37 | 2EA‑4895‑1 | |
Beethoven | |||
Chorus of Dervishes (No. 3 from The Ruins of Athens, Op. 11V/Andre Benoist, pianist | 11/9/17 | B‑21073‑1 | |
Concerto in D, Op. 61 | |||
1st recording: NBC Symphony
Orchestra/Arturo Toscanini, conductor |
3/11/40 | CS‑048066‑1,'67‑2R |
68‑1 69‑2 70‑1 71‑2 72‑1 A 73‑2 74‑1 A |
2nd recording: Boston Symphony Orchestra/Charles Munch, conductor |
11/27, 28/55 | F2‑RH‑8029‑8031 | |
Folk Dance (German Dance No. 6)/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑3102‑1 | |
Piano Trio in E‑Flat, Op.1, No.1/Jacob Lateiner, pianist/Gregor Piatigorsky, cellist | 3/23/64 | RR‑A5‑3227‑3230 | |
Piano Trio in B‑Flat, Op. 97 ("Archduke")/Artur Rubinstein, pianist/Emanuel Feuermann, cellist | 9/12,13/41 | PCS‑061634‑1 |
35‑1 36‑2 37‑3 38‑1 39‑3 40‑2 41‑3 42‑2 43‑3 |
Romance No. 1 in G, Op.40/RCA Symphony Orchestra/William Steinberg, conductor | 6/15/51 | El‑RC‑2414‑2, 15‑1 | |
Romance No. 2 in F, Op. 50/RCA Symphony Orchestra/William Steinberg, conductor | 6/15/51 | El‑RC‑2416‑1, 17‑1 | |
Serenade, Op. 8 (Trio in D)/William Primrose, violist/Gregor Piatigorsky, cellist | 8/15,22/60 | L2‑RB‑2509‑2513 | |
Sonatas for Violin and Piano: | |||
No. 1 in D, Op.12, No.1/Emanuel Bay, pianist | 12/16/47 | D7‑RC‑6969‑2 |
70‑2 71‑1 72‑2A |
No. 2 in A, Op.12, No.2/Emanuel Bay, pianist | 12/17/47 | D7‑RC‑6973‑1 |
74‑2 75‑2 76‑IA |
No. 3 in E‑Flat, Op. 12, No. 3 | |||
1st recording: Emanuel Bay, pianist | 1/30/36 | CS‑98694‑2, 95‑2 |
96‑2 97‑1 98‑2 |
2nd recording: Emanuel Bay, pianist | 10/15/52 | E2‑RC‑1037‑1 |
1100‑1 1038‑1 1039‑1 |
No. 4 in A Minor, Op.23/Emanuel Bay, pianist | 10/15/52 | E2‑RC‑1040‑2 |
41‑1 99‑1 42‑1 R |
No. 5 in F, Op. 24 ("Spring")/Emanuel Bay, pianist | 12/17/47 | D7‑RC‑6978‑2 |
79‑1A 80‑1 81‑1A |
No. 6 in A, Op. 30, No.1/Emanuel Bay, pianist | 10/16/52 | E2‑RC‑1043‑1 |
44‑1 45‑1 98‑1 |
No. 7 in C Minor, Op. 30, No.2/Emanuel Bay, pianist | 4/6/50 | EO‑RC‑0321‑IE |
22‑113 23‑1G 24‑1E 25‑1D 26‑IF |
No. 8 in G, Op. 30, No.3/ | |||
1st recording: Emanuel Bay, pianist | 1/31/36 | CS‑99508‑1 |
09‑2 10‑2 11‑2 12‑2 |
2nd recording: Emanuel Bay, pianist | 10/16/52 | E2‑RC‑1046‑1 |
47‑1 97‑1R 48‑1 |
No. 9 in A, Op. 47 ("Kreutzer") | |||
1st recording: Benno Moiseiwitsch,
pianist |
5/14,15/51 | 2EA‑13982‑13989 | |
2nd recording: Brooks Smith, pianist | 9/22,23/60 | L2‑RB‑2532‑2534 | |
No. 10 in G, Op. 96/Emanuel Bay, pianist | 10/16,17/52 | E2‑RC‑1049‑2 |
96‑2 50‑1 51‑1 |
String Trio in E‑Flat, Op.3/William Primrose, violist/Gregor Piatigorsky, cellist | 3/28,29/57 | H2‑RB‑2672‑2675 | |
String Trio in G, Op. 9, No.1/William Primrose, violist/Gregor Piatigorsky, cellist | 3/27/57 | H2‑RB‑2668‑2671 | |
String Trio in D, Op. 9, No. 2/William Primrose, violist/Gregor Piatigorsky, cellist | 8/17,22/60 | L2‑RB‑2505‑2508 | |
String Trio in C Minor, Op. 9, No. 3/William Primrose, violist/Gregor Piatigorsky, cellist | 3/29,30/57 | H2‑RB‑2676‑2679 | |
Turkish March (No. 4 from The Ruins of Athens, Op.11V/Andre Benoist, pianist | 12/19/17 | B‑21074‑4 | |
Benjamin | |||
Jamaican Rumba (Jamaican Pieces, No.V/Milton Kaye, pianist | c. 1945 | 72441 | |
Romantic Fantasy for Violin, Viola & Orchestra/William Primrose, violist/RCA Symphony Orchestra/lzler Solomon, conductor | 10/1/56 | G2‑RB‑7394‑7396 | |
Bennett, Robert Russell | |||
Hexapoda (5 Studies in Jitteroptera)/Emanuel Bay, pianist | c. 1945 | 73196‑73198 | |
Song Sonata: Belligerent, Slow and Lonely, Madly Dancing/Brooks Smith, pianist | 12/17/55 | F2‑RB‑8365‑8367 | |
Berlin | |||
White Christmas/Orchestra/Salvador Camerata, conductor | c. 1945 | Decca:72461 | |
Bloch | |||
Nigun (No. 2 from Baal Shem, 1923)/Brooks Smith, pianist | Recorded Live 10/23/72 | CBS | |
Sonata No. 1 (1920)/Emanuel Bay, pianist | 12/2/53 | E3‑RC‑3097‑3100 | |
Sonata No. 2 (“Poeme mystique”) (1924)/Brooks Smith, pianist | 12/16,17/55 | F2‑RB‑8363‑8364 | |
Boccherini | |||
Sonata in D/Gregor Piatigorsky, cellist | 11/18/64 | RR‑A3‑4888 | |
Boulanger, Lili | |||
Cortege/Isidor Achron, pianist | 12/18/24 | B‑31379‑1 | |
Nocturne in F/Isidor Achron, pianist | 9/25/24 | B‑30929‑4 | |
Brahms | |||
Concerto in D, Op. 77 | |||
1st recording: Boston Symphony
Orchestra/Serge Koussevitzky, conductor |
4/11/39 |
CS‑035424‑2 |
25‑2 26‑3 27‑2 28‑1 29‑2 30‑3 31‑2 32‑1 |
2nd recording:
Chicago Symphony
Orchestra/Fritz Reiner, conductor |
2/21,22/55 | F2‑RH‑1600‑1602 | |
Concerto for Violin, Cello & Orchestra in A Minor, Op. 102 | |||
1st recording: Emanuel Feuermann, cellist/The Philadelphia Orchestra/Eugene Ormandy, conductor |
12/21/39 | CS‑045645‑2A |
46‑4R 47‑2R 48‑1R 49‑2 50‑2 51‑2 52‑3 |
2nd recording: Gregor Piatigorsky, cellist/RCA Symphony Orchestra/Alfred Wallenstein, condurtor |
5/19,20/60 | L2‑RB‑2197‑2199 | |
Hungarian Dance No. 1 in G Minor/Samuel Chotzinoff, pianist | 9/16/20 | B‑24468‑2 | |
Hungarian Dance No. 7 in A arr. for violin & piano/Emanuel Bay, pianist |
c. 1945 | 73206 | |
arr. for orchestra/ Los Angeles Philharmonic/Alfred Wallenstein, conductor |
12/9/53 | E3‑RC‑2551‑1 | |
Hungarian Dance No. 11 in D Minor/Brooks Smith, pianist | 4/14/56 | G2‑RB‑2999 | |
Hungarian Dance No. 17 in F‑Sharp Minor (Arr. in F minor)/Brooks Smith, pianist | 4/14/56 | G2‑RB‑3000 | |
Hungarian Dance No. 20 in E Minor (Arr. in D minor)4/Brooks Smith, pianist | 4/14/56 | G2‑RB‑2998 | |
Piano Quartet in C Minor, Op. 60/Jacob Lateiner, pianist/Sanford Schonbach, violist/Gregor Piatigorsky, cellist | 8/17,18/65 | SR‑A3‑5868‑5871 | |
Piano Trio in B, Op. 8/Artur Rubinstein, pianist/Emanuel Feuermann, cellist | 9/11,12/41 | PCS‑061622‑2 |
23‑3 24‑4R 25‑3 26‑5 27‑4 28‑4 29‑5 |
Sextet in G, Op. 36/Israel Baker, violin/Virginia Majewski/William Primrose, violas/Gregor Piatigorsky/Gabor Rejto, cellos | 8/28,29/61 | M2‑RB‑3426‑3429 | |
Sonata No. 2 in A, Op. 100/Emanuel Bay, pianist | 1/31/36 | CS‑99513‑2 |
14‑1 15‑1 16‑1 17‑1 |
Sonata No. 3 in D Minor, Op. 108/William Kapell, pianist | 11/29,30/50 | EO‑RC‑0467‑1 |
68‑1 69‑1 70‑1A 71‑1 72‑1 |
Bruch | |||
Concerto No. 1 in G Minor, Op. 26 | |||
1st recording: London Symphony Orchestra/Sir Malcolm Sargent, conductor |
5/18/51 | 2EA‑15603‑3 |
04‑3 05‑1 06‑1 07‑3 08‑1 |
2nd recording: New Symphony Orchestra of London/Sir Malcolm Sargent, conductor |
5/14,16/62 | N2‑RY‑8280 | |
Concerto No. 2 in D Minor, Op. 44/RCA Symphony Orchestra/Izler Solomon, conductor | 11/2/54 | E4‑RC‑0544‑0546 | |
Scottish Fantasy, Op. 46 | |||
1st recording: RCA Symphony Orchestra/William Steinberg, conductor |
9/12/47 | D7‑RC‑6939‑2A |
40‑2A 41‑1A 42‑1A 43‑2A 44‑2A |
2nd recording: New Symphony Orchestra of London/Sir Malcolm Sargent, conductor |
5/15,22/61 | M2‑RY‑8179 | |
Burleigh, Cecil | |||
Giant Hills (No. 1 from Nature Studies, Op. 44)/Emanuel Bay, pianist | c.1945 | 73367 | |
Moto Perpetuo (No. 4 from Small Concert Pieces, Op. 21)/Emanuel Bay, pianist | c.1945 | 73367 | |
Castelnuovo‑Tedesco | |||
Concerto No. 2 ("The Prophets") (1933)/Los Angeles Philharmonic/Alfred Wallenstein, conductor | 10/28,29/54 | E4‑RC‑0541‑0543 | |
Figaro (Paraphrase on "Largo al factotum" from Rossini's The Barber of Seville)/Emanuel Bay, pianist | c.1945 | 72445 | |
Sea Murmurs (Arr. from 2 Etudes d'ondes) | |||
1st recording: Arpad Sandor, pianist | 2/3/34 | BS‑81352‑2 | |
2nd recording: Emanuel Bay, pianist | 10/18/46 | D6‑RB‑3107‑1 | |
3rd recording: Brooks Smith, pianist | Recorded Live 10/23/72 | ||
Tango (Adaptation of Two Maids Wooing a Man, No. 3 from Songs of Shakespeare)/Emanuel Bay, pianist | 10/16/46 | D6‑RB‑2185‑2 | |
The Lark (Poem in the Form of a Rondo)/Emanuel Bay, pianist | 3/30/54 | E3‑RC‑2525‑1 | |
Valse (Alt Wien, No. 1)/Arpad Sandor, pianist (previously unissued in the U.S.) | 3/34 | OB‑6044‑2 | |
Chausson | |||
Concerto for Violin, Piano & Quartet in D, Op. 21/Jesus Maria Sanroma, pianist/Musical Art Quartet | 5/28/41 | CS‑065384‑1 |
77‑1A 78‑1 79‑2 80‑2 81‑1 87‑2A 91‑1 |
Poeme, Op. 25/RCA Symphony Orchestra/Izler Solomon, conductor | 12/2/52 | E2‑RC‑1157‑1158 | |
Chopin | |||
Nocturne in E‑Flat, Op. 9, No.2/Andre Benoist, pianist | 10/4/18 | C‑22269‑4 | |
Nocturne in D‑Flat, Op. 27, No. 2 (Arr. in D/Samuel Chotzinoff, pianist | 10/20/22 | C‑27038‑1 | |
Nocturne in E‑Flat, Op. 55, No. 2/Emanuel Bay, pianist | c. 1945 | 73201 | |
Nocturne in E Minor, Op. 72, No. 1/Emanuel Bay, pianist | 10/17/46 | D6‑RC‑5640‑3 | |
Clerambault | |||
Largo on G String/Arpad Sandor, pianist | 2/34 | 2B‑6052‑2 | |
Conus | |||
Concerto in E Minor/RCA Symphony Orchestra/lzler Solomon, conductor | 12/3/52 | E2‑RC‑1196‑1199 | |
Couperin | |||
Les Petits moulins A vent (XVII, No. 2)9/Isidor Achron, pianist/(previously unissued in the U.S.) | 12/29/25 | CVE‑34072‑3 | |
Crowther | |||
Gweedore Brae/Milton Kaye, pianist | c.1945 | 72454 | |
Debussy | |||
Beau Soir | |||
1st recording: Milton Kaye, pianist | c. 1945 | 72442 | |
2nd recording: Brooks Smith, pianist | 4/14/65 | SR‑A3‑3852 | |
Clair de lune (Suite bergamasque, No. V)/Emanuel Bay, pianist | c.1945 | 73181 | |
Golliwogg's Cakewalk (Children's Corner Suite, No.V | |||
1st recording: Emanuel Bay, pianist | c.1945 | 73180 | |
2nd recording: Brooks Smith, pianist | 4/14/65 | SR‑A3‑3854 | |
Il pleure dans mon coeur (Ariettes oubliees, No. 6)/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑2199‑2 | |
La Chevelure (Chansons de Bilitis, No. V) | |||
1st recording: Emanuel Bay, pianist | 10/16/46 | D6‑RB‑2189‑2 | |
2nd recording: Brooks Smith, pianist | 4/14/65 | SR‑A3‑3853 | |
La Fille aux cheveux de lin (Preludes, Book I, No.8) | |||
1st recording: Isidor Achron, pianist | 12/29/26 | CVE‑37290‑3 | |
2nd recording: Emanuel Bay, pianist | 10/18/46 | D6‑RB‑3113‑3 | |
3rd recording (featured in the film "Of Men and Music")/Emanuel Bay, pianist |
1950 | EO‑RB‑6209‑1 | |
4th recording: Brooks Smith, pianist | 9/15/70 | ZR‑RS‑4104 | |
La plus que lent12 | |||
1st recording: Isidor Achron, pianist | 12/29/25 | CVE‑34070‑4 | |
2nd recording: Emanuel Bay, pianist | 10/18/46 | D6‑RC‑5646‑2A | |
3rd recording: Brooks Smith, pianist |
Recorded Live 10/23/72 |
||
Prelude (from L'Enfant prodigue)2/Arpad Sandor, pianist | 2/34 | OB‑6055‑2 | |
Sonata No. 3 in G Minor/Emanuel Bay, pianist | 4/6/50 | EO‑RC‑0327‑113 |
28‑2E 29‑lF |
Dinicu | |||
Hora Staccato2 | |||
1st recording: Emanuel Bay, pianist | 4/37 | OEA‑4894‑1 | |
2nd recording: (featured in the film "Of Men and Music") /Emanuel Bay, pianist |
1950 | EO‑RB‑6208‑1 | |
Dohnanyi | |||
Gypsy Andante (No. 6 from Ruralia Hungarica, Op.320/Arpad Sandor, pianist (previously unissued in the U.S.) | 3/34 | 2B‑6102‑3 | |
Serenade in C, Op. 10/William Primrose, violist/Emanuel Feuermann, cellist | 9/8/41 | PCS‑061590‑3R |
91‑3R 92‑2R 93‑2R 94‑1 95‑3R |
Drigo | |||
Valse bluette (Airs de Ballet, No. 2) | |||
1st recording: Andre Benoist ' pianist | 11/9/17 | B‑21068‑2 | |
2nd recording: Isidor Achron, pianist | 5/8/28 | BVE‑21068‑5 | |
3rd recording: Emanuel Bay, pianist | 10/18/46 | D6‑RB‑3112‑2 | |
Dvořak | |||
Humoresque (Op. 101, No. 7 in G‑Flat, arr. in G)2/Milton Kaye, pianist | c. 1945 | 72448 | |
Piano Quintet in A, Op. 81/Jacob Lateiner, piano/Israel Baker, violin/ Joseph de Pasquale, viola/Gregor Piatigorsky, cello | 11/9,10/64 | RR‑A3‑4883‑4886 | |
Piano Trio in F Minor, Op. 65/ Leonard Pennario, pianist/Gregor Piatigorsky, cellist | 11/11/63 | ||
Piano Trio in E Minor, Op. 90 ("Durnky")/Jacob Lateiner, pianist/ Gregor Piatigorsky, cellist | 7/1,2/68 | WR‑A3‑1493‑1497 | |
Slavonic Dance (Op. 46, No. 2 in E Minor arr. in G minor)/Samuel Chotzinoff, pianist | 10/14/19 | B‑23411‑2 | |
Slavonic Dance (Op. 72, No. 2 in E Minor)/Samuel Chotzinoff, pianist | 10/20/22 | C‑23412‑6 | |
Slavonic Dance (Op. 72, No. 8 in A‑Flat, arr. in G/Samuel Chotzinoff, pianist | 9/16/20 | C‑24467‑2 | |
Dyer | |||
Florida Night Song (An Outlandish Suite, No. 2)/Emanuel Bay, pianist | c.1945 | 73L98 | |
Elgar | |||
Concerto in B Minor, Op. 61/ London Symphony Orchestra/Sir Malcolm Sargent, conductor | 6/49 | 2EA‑13929‑2 |
30‑2A 31‑2A 32‑1 33‑1A 34‑2A 35‑4 36‑1 37‑1 38‑2 |
La Capricieuse, Op. 17 | |||
1st recording: Andre Benoist,
pianist |
11/9/17 | B‑21075‑2 | |
2nd recording
(previously unissued in the U.S.)/Arpad Sandor, pianist |
2/34 | OB‑6059‑2 | |
Falla | |||
Danza EspaAola No. 1 (from La Vida Breve)/Emanuel Bay, pianist | 12/35 | 2EA‑2581‑3 | |
Jota (Seven Popular Spanish Songs, No. 1) | |||
1st recording: Isidor
Achron, pianist |
5/8/28 | CVE‑43960‑2 | |
2nd recording" Emanuel Bay, pianist |
10/18/46 | D6‑RB‑3108‑2A | |
3rd recordin
g‑ Brooks Smith, pianist |
5/4/67 | UR‑A3‑1522 | |
Preludes: | |||
No. 1 | |||
1st
recording: Emanuel Bay, pianist |
c. 1945 | 73177 | |
2nd recording: Broaks Smith, pianist |
4/13/65 | SR‑A3‑1478 | |
No. 2 | |||
1st
recording ‑ Emanuel Bay, pianist |
c. 1945 | 73178 | |
2nd
recording: Brooks Smith, pianist |
4/13/65 | SR‑A3‑1478 | |
No. 3 | |||
1st
recording: Emanuel Bay, pianist |
c. 1945 | 73179 | |
2nd
recording ‑ Brooks Smith, pianist |
4/13/65 | SR‑A3‑1478 | |
Glazounov | |||
Concerto in A Minor, Op. 82 | |||
1st recording: London Philharmonic/John Barbirolli, conductor |
3/34 | 2B‑6853‑2 |
54‑1 55‑2 56‑1 57‑1 |
2nd
recording:
RCA Symphony Orchestra/Walter Hendl, conductor |
6/3,4/63 | PR‑A3‑4243 | |
Grand Adagio (No. 4 from Raymonda, Op. 57)/Samuel Chotzinoff, pianist | 10/19/22 | B‑27033‑2 | |
Meditation, Op. 32 | |||
1st recording: Andre Benoist,
pianist |
12/19/17 | B‑21269‑2 | |
2nd
recording: Arpad
Sandor, pianist |
3/34 | 2B‑6103‑2 | |
Valse (No. 6 from Raymonda, Op. 5)/Samuel Chotzinoff, pianist | 9/16/20 | C‑24471‑1 | |
Gliere | |||
Duo, Op. 39: Prelude/Gregor Piatigorsky, cellist | 11/18/64 | ||
Gluck | |||
MeIodie (Dance of the Blessed Spirits: Andante from Orfeo ed Euridice)/Emanuel Bay, pianist | c. 1945 | 73202 | |
Godard | |||
Berceuse (from Jocelyn)/Bing Crosby, vocal solo/Orchestra conducted by Victor Young | c. 1945 | Decca: L 4227 | |
Godowsky | |||
Alt Wien (Triakontameron, No. 1) | |||
1st recording: Arpad
Sandor, pianist |
2/3/34 | BS‑81353‑2 | |
2nd recording ‑ Emanuel Bay, pianist |
10/18/46 | D6‑RB‑3111‑2A | |
Viennese (Impressions, No. 12) /Milton Kaye, pianist |
c.1945 | 72457 | |
Waltz in D (Impressions, No. 8)1/ | 9/17/20 | B‑24477‑2 | |
Samuel Chotzinoff, pianist | |||
Goldmark | |||
Concerto in A Minor, Op. 28: Andante/Orchestra conducted by Josef Pasternack | 9/17/20 | C‑24476‑2 | |
Granados | |||
Andaluza (No. 5 from Danzas Espailolas, Op. 37/Samuel Chotzinoff, pianist | 10/19/22 | B‑27035‑2 | |
Grasse | |||
Waves at Play/Emanuel Bay, pianist | c.1945 | 73185 | |
Grieg | |||
Puck (No. 3 from Lyric Pieces, Op. 71)/Isidor Achron, pianist | 5/8/28 | CVE‑43960‑2 | |
Scherzo‑Impromptu (No. 2 from Moods, Op.73)/Isidor Achron, pianist | 12/29/26 | CVE‑37290‑3 | |
Sonata in G, Op. 13 | |||
1st recording: Emanuel Bay, pianist |
2/7/36 | CS‑99554‑1, 55‑2 |
56‑2 57‑2 58‑2 |
2nd recording: Brooks Smith, pianist |
12/15/55 | F2‑RB‑8351‑8353 | |
Nana (Berceuse) (Seven Popular Spanish Songs, No. 5) | |||
1st recording: Brooks Smith, pianist |
5/4/67 | UR‑A3‑1527 | |
2nd
recording Brooks Smith, pianist |
Recorded Live 10/23/72 | ||
Pantomime (El Amor Brujo, No. 14)/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑2195‑2 | |
Fauré | |||
Sonata in A, Op.13 | |||
1st recording: Emanuel Bay, pianist |
2/10/36 | CS‑99565‑1 |
66‑2 67‑2 68‑2 69‑1 70‑1 |
2nd recording: Brooks Smith, pianist |
12/15,16/55 | F2‑RB‑8354‑8357 | |
Ferguson | |||
Sonata No. 1, Op. 2 (1931)/Lillian Steuber, pianist | 2/7/66 | TR‑A3‑2183‑2185 | |
Foster | |||
I Dream of Jeanie with the Light Brown Hair/Emanuel Bay, pianist | c. 1945 | 72446 | |
Old Folks at Home2/Emanuel Bay, pianist | c. 1945 | 72455 | |
Françaix | |||
Trio in C 0 933)/Joseph de Pasquale, violist/Gregor Piatigorsky, cellist | 11/11/64 | RR‑A3‑4887 | |
Franck | |||
Piano Quintet in F Minor/Leonard Pennario, piano/Israel Baker, violin/William Primrose, viola/Gregor Piatigorsky, cello | 8/21,22/61 | M2‑RB‑3423‑3425 | |
Sonata in A | |||
1st recording: Artur
Rubinstein, pianist |
4/37 | 2EA‑4883‑1,84‑1 |
85‑1 86‑1 87‑1 88‑1 |
2nd
recording: Brooks Smith, pianist |
Recorded Live 10/23/72 | ||
Gardner | |||
From the Canebrake, Op. 5, No. 1/Milton Kaye, pianist | c. 1945 | 72440 | |
Gershwin | |||
Porgy and Bess: | |||
'A Woman Is a Sometime Thing' | |||
1st
recording: Emanuel Bay, pianist |
c. 1945 | 73172 | |
2nd
recording: Brooks Smith, pianist |
4/13/65 | SR‑A3‑1473 | |
'Bess, You Is My Woman Now' | |||
1st
recording: Emanuel Bay, pianist |
c. 1945 | 73174 | |
2nd
recording: Brooks Smith, pianist |
4/13/65 | SR‑A3‑1477 | |
'It Ain't Necessarily So' | |||
1st
recording: Emanuel Bay, pianist |
c. 1945 | 73173 | |
2nd
recording: Brooks Smith, pianist |
4/13/65 | SR‑A3‑1475 | |
3rd
recording: Brooks Smith, pianist |
9/15/70 | ZR‑RS‑4104 | |
'My Man's Gone Now' | |||
1st
recording: Emanuel Bay, pianist |
c. 1945 | 73176 | |
2nd
recording: Brooks Smith, pianist |
4/13/65 | SR‑A3‑1474 | |
'Summertime' | |||
1st recording: Emanuel Bay, pianist |
c. 1945 | 73172 | |
2nd
recording: Brooks Smith, pianist |
4/13/65 | SR‑A3‑1473 | |
Tempo di Blues | |||
1st
recording: Emanuel Bay, pianist |
c. 1945 | 73175 | |
2nd
recording: Brooks Smith, pianist |
4/13/65 | SR‑A3‑1476 | |
Sonata in C Minor, Op. 45:2nd Movement/Isidor Achron, pianist (previously unissued) | 5/8/28 | CVE‑31380‑4 | |
Gruenberg | |||
Concerto, Op. 47 (1944)/San Francisco Symphony Orchestra/Pierre Monteux, conductor | 12/17/45 | 135‑RC‑11554R |
56‑1 57‑213 58‑1AR 59‑2B 60‑213 61‑2B 62‑2 |
Halffter Escriche | |||
Danza de la Gitana (Sonatina, No. V)/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑2198‑1 | |
Handel | |||
Passacaglia (from Harpsichord Suite No. 7 in G Minor) | |||
1st recording: William
Primrose, violist |
5/22/41 | CS‑065639‑2A | 40‑4 |
2nd
recording: GregorPiatigorsky, cellist |
10/14/63 & 11/12/63 | ||
Sonata in D, Op. 1, No. 13/Emanuel Bay, pianist (previously unissued) | 11/30/53 | E3‑RC‑2521‑2524 | |
Sonata in E, Op. 1, No.15/Emanuel Bay, pianist | 11/30/53 | E3‑RC‑2517‑2520 | |
Haydn | |||
Vivace (from Quartet in D, Op. 64, No. 5), "The Lark'/Samuel Chotzinoff, pianist | 10/19/22 | B‑27037‑1 | |
Herbert | |||
A la valse/Milton Kaye, pianist | c. 1945 | 72447 | |
Hummel | |||
Rondo in E‑Flat, Op.11/Arpad Sandor, pianist | 2/3/34 | CS‑81355‑3 | |
lbert | |||
Le Petit 5ne blanc (Histoires, No.2)/Brooks Smith, pianist | 4/14/65 | SR‑A3‑3850 | |
Juon | |||
Berceuse, Op. 28, No.3/Samuel Chotzinoff, pianist | 9/16/20 | C‑24471‑1 | |
Khachaturian, Aram | |||
Sabre Dance (from "Gayne" Suite No. 1)2/Brooks Smith, pianist | 12/8/54 | E4‑RC‑0699 | |
Khachaturian, Karen | |||
Sonata in G Minor, Op. 1/Lillian Steuber, pianist | 2/8/66 | TR‑A3‑2186‑2188 | |
Kodaly | 9/20,21/60 | L2‑RB‑2535‑2537 | |
Duo, Op. 7/Gregor Piatigorsky, cellist | |||
Korngold | |||
Concerto in D, Op. 35/Los Angeles Philharmonic/Alfred Wallenstein, conductor | 1/10/53 | E3‑RC‑2131‑2134 | |
Garden Scene (Much Ado About Nothing, No. 2) | |||
1st recording: Emanuel
Bay, pianist |
12/18/47 | D7‑RC‑6983‑1A | |
2nd recording: Brooks
Smith, pianist |
9/15/70 | AR‑RS‑4048 | |
Holzapfel und Schlehwein (March, | |||
"Much Ado About Nothing" No. 3) | |||
1st recording: Arpad
Sandor, pianist |
2/34 | OB‑6054‑2 | |
2nd recording: Emanuel
Bay, pianist |
10/18/46 | D6‑RB‑3109‑2A | |
Krein | |||
Dance No. 4/Emanuel Bay, pianist | c. 1945 | 73205 | |
Kreisler | |||
La Chasse (In the Style of Cartier)/Brooks Smith, pianist | Recorded Live 10/23/72 | ||
Minuet (In the Style of Porpora)/Andre Benoist, pianist | 10/4/18 | B‑22275‑2 | |
Sicilienne et Rigaudon (In the Style of Francoeur)/Andre Benoist, pianist | 10/3/18 | B‑22271‑2 | |
Kroll | |||
Banjo and Fiddle/Emanuel Bay, pianist | 12/17/47 | D7‑RC‑6984‑2 | |
Lalo | |||
Symphonie espagnole, Op. 21RCA Symphony Ochestra/William Steinbeig, conductor | 6/12,13/51 | El‑RC‑2408‑1 |
09‑1 10‑1 11‑2 12‑1 13‑1 |
Andante (4th Movement)/Orchestra conducted by Josef Pasternack | 10/14/19 | C‑23408‑2 | |
Lohr‑Teschmacher | |||
Where My Caravan Has Rested/Bing Crosby, vocal/Orchestra conducted by Victor Young | c. 1945 | Decca: L 4228 | |
Martinu | |||
Duo for Violin and Cello (1927)/Gregor Piatigorsky, cellist | 11/18/64 | RR‑A3‑4889 | |
Medtner | |||
Fairy Tale in B‑Flat Minor, Op. 20, No. 11/Emanuel Bay, pianist | 10/16/46 | D6‑RB‑2187‑1 | |
Mendelssohn | |||
Concerto in E Minor, Op.64 | |||
1st recording: Royal Philharmonic/ir Thomas Beecham, conductor |
6/10/49 | 2EA‑13947‑2 |
48‑1 49‑2 50‑1 51‑4A 52‑1 |
2nd recording:
Boston Symphony Orchestra/Charles Munch, conductor |
2/23,25/59 | K2‑RB‑1273,75 | |
Finale/Samuel Chotzinoff, pianist | 9/16/20 | C‑24472‑2 | |
Octet in E‑Flat, Op. 20/Israel Baker, Arnold Belnick, Joseph Stepansky, violins/William Primrose, Virginia Majewski, violas/Gregor Piatigorsky, Gabor Rejto, cellos | 8/24,25/61 | W‑RB‑3430‑3433 | |
On Wings of Song, Op. 34, No.2 | |||
1st recording: Andre Benoist, pianist |
10/4/18 | C‑22272‑2 | |
2nd recording: Isidor
Achron, pianist |
5/8/28 | CVE‑22272‑4 | |
3rd recording: Emanuel Bay, pianist |
4/22/49 | D9‑RC‑1087‑lC | |
Piano Trio in D Minor, Op. 49/Artur Rubinstein, pianist/Gregor Piatigorsky, cellist | 8/25/50 | EO‑RC‑0380‑1 |
81‑1 82‑1 83‑1 84‑1 85‑1R |
Piano Trio in C Minor, Op. 66/Leonard Pennario, pianist/Gregor Piatigorsky, cellist | 11/7,8/63 | PR‑A5‑5879‑5882 | |
Scherzo (from Trio in D Minor/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑3103‑2 | |
Sweet Remembrance (Songs Without Words Op.19)/Emanuel Bay, pianist | 12/17/47 | D7‑RB‑2198‑2 | |
Milhaud | |||
Corcovado (Saudades do Brasil, No. 7)/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑2196‑1 | |
Sumare (Saudades do Brasil, No. 9) 18/Arpad Sandor, pianist (previously unissued in the U.S.) | 2/34 | OB‑6053‑3 | |
Moszkowski | |||
Guitarre, Op. 45, No. 21 | |||
1st recording: Andre Benoist,
pianist |
10/3/18 | B‑22270‑2 | |
2nd recording: Arpad
Sandor, pianist |
3/34 | OB‑6045‑5 | |
Mozart | |||
Concerto No. 4 in D, K. 218 | |||
1st recording: Royal Philharmonic/Sir Thomas Beecham, conductor |
11/10/47 | 2EA‑125214 |
22‑2 23‑2 24‑2 25‑2 26‑1 |
2nd recording: New Symphony Orchestra of London/Sir Malcolm Sargent, conductor |
5/14,16/62 | N2‑RY‑8281 | |
Concerto No. 5 in A, K. 219 ("Turkish") | |||
1st recording: London Philharmonic/John Barbirolli, conductor |
2/34 | 2B‑6801‑1 |
02‑1 03‑1 04‑2 05‑1 06‑2 07‑1 08‑1 |
2nd recording: London Symphony Orchestra/Sir Malcolm Sargent, conductor |
5/29,30/51 | 2EA‑15610‑4A |
11‑2A 12‑2A 13‑213 14‑3A 15‑2A 16‑3C 17‑2C |
3rd recording: Chamber Orchestra |
10/6/63 | PR‑A5‑4533‑4535 | |
Divertimento in E‑Flat, K. 563/William Primrose, violist/Emanuel Feuermann, cellist | 9/9/41 | PCS‑061605‑3R |
06‑2R 07‑2 08‑1 09‑2 10-2 11‑2 12‑2 |
Duo No. 2 in B‑Flat, K.424/William Primrose, violist | 5/22/41 & 8/29/41 | CS‑065641‑5,42‑3 |
43‑3 44‑1 45‑1 |
Minuet (from Divertimento No. 17 in D, K.334) | |||
1st recording: Samuel Chotzinoff, pianist |
10/28/19 | B‑23440‑1 | |
2nd recording: Emanuel Bay, pianist |
12/17/47 | D7‑RC‑6977‑2 | |
Quintet in C, K.515/Israel Baker, violin/William Primrose/Viiginia Majewski, violas/Gregor Piatigorsky, cello | 3/26,27/64 | RR‑A5‑3235‑3238 | |
Quintet in G Minor, K.516/Israel Baker, violin/William Primrose/Viiginia Majewski, violas/Gregor Piatigorsky, cello | 8/29,30/61 | M2‑RB‑3438‑3441 | |
Rondo (from Serenade in D, K. 250, "Haffner") | |||
1st recording: Samuel Chotzinoff, pianist |
9/16/20 | C‑24469‑2 | |
2nd recording: Brooks Smith, pianist |
9/15/70 | ZR‑RS‑4104 | |
Sinfonia Concertante in E‑Flat, K. 364/William Primrose, violist/RCA Symphony Orchestra/Izler Solomon, conductor | 10/2/56 | G2‑RB‑7397‑7399 | |
Sonata No. 17 in C, K.296/Emanuel Bay, pianist | 12/16/47 | D7‑RC‑6966‑2 |
67‑1A 68‑2A |
Sonata No. 26 in B‑Flat, K.378 | |||
1st recording: Emanuel Bay, pianist |
2/3/36 | CS‑99523‑2,24‑2 |
25‑1 26‑2 |
2nd recording: Brooks Smith, pianist |
12/8/54 | E4‑RC‑0595‑0597 | |
Sonata No. 32 in B‑Flat, K.454 | |||
1st recording: Emanuel Bay, pianist |
2/10/36 | CS‑99559‑1,60‑1 |
61‑2 62‑2 63‑2 64‑2 |
2nd recording: Brooks Smith, pianist |
12/9/54 | E4‑RC‑0598‑0600 | |
Nin | |||
Cantilena Asturiana/Emanuel Bay, pianist | 10/17/46 | D6‑RB‑2196‑1 | |
Paganini | |||
Caprice No. 13 in B‑Flat | |||
1st recording: Samuel Chotzinoff,
pianist |
9/16/20 | B‑24470‑2 | |
2nd recording: Arpdd Sandor, pianist |
3/34 | OB‑6105‑2 | |
3rd recording: Brooks Smith, pianist |
4/14/56 | F2‑RB‑8358‑1 | |
Caprice No. 20 in D | |||
1st recording: Andre Benoist, pianist |
10/4/18 | B‑22274‑2 | |
2nd recording: Arpdd Stindor, pianist |
3/34 | OB‑6104‑2 | |
3rd recording: Brooks Smith, pianist |
4/14/56 | F2‑RB‑8359‑1 | |
Caprice No. 24 in A MinorArpad Sandor, pianist | 2/34 | 2B‑6057‑2,58‑1 | |
Moto Perpetuo, Op. 11/Ande Benoist, pianist | 10/3/18 | C‑22267‑2 | |
Poldowski | |||
Tango ‑ Emanuel Bay, pianist | 10/17/46 | D6‑RB‑3100‑2A | |
Ponce | |||
Estrellita | |||
1st recording: Isidor
Achron, pianist |
5/8/28 | BVE‑43945‑4 | |
2nd recording: Emanuel Bay, pianist |
10/18/46 | D6‑RB‑3110‑2 | |
Poulenc | |||
Mouvements perpetuels: No.1 | |||
1st recording (previously
unissued): Emanuel,Bay, pianist |
4/37 | 2EA‑4893‑2 | |
2nd recording ‑ Brooks Smith, pianist |
4/14/65 | SR‑A3‑3849 | |
Presto in B‑Flat (No.1 from 3 Pieces for Piano, 1934/5)/Emanuel Bay, pianist | 10/16/46 | 136‑RB‑21884A | |
Prokofiev | |||
Concerto No. 2 in G Minor, Op. 63 (1935) | |||
1st recording: Boston
Symphony Orchestra/Serge Koussevitzky, conductor |
12/20/37 | CS‑014400‑2 |
01‑2 02‑1 03‑2 04‑2 05‑2 |
2nd
recording:
Boston Symphony Orchestra/Charles Munch, conductor |
2/24/59 | K2‑RB‑1276‑1278 | |
Gavotte, Op. 32, No.3/Emanuel Bay, pianist | 10/16/46 | D6‑RB‑2182‑1 | |
March (from The Love for Three Oranges) | |||
1st recording: Emanuel Bay,
pianist |
c. 1945 | 73194 | |
2nd recording: Brooks Smith,
pianist |
9/15/70 | ZR‑RS‑4104 | |
March in F Minor, Op. 12, No.1/Emanuel Bay, pianist | 10/16/46 | D6‑RB‑2182‑1 | |
Masques (from Romeo and Juliet)/Emanuel Bay, pianist | c. 1945 | 73195 | |
Rachmaninoff | |||
Daisies, Op. 30, No. 3 | |||
1st recording: Emanuel Bay,
pianist |
10/16/46 | D6‑RB‑2183‑3A | |
2nd recording: Brooks Smith,
pianist |
5/4/67 | UR‑A3‑1526 | |
3rd recording: Brooks Smith,
pianist |
9/15/70 | AR‑LS‑3585 | |
Etude‑Tableau, Op. 33, No.4/Brooks Smith, pianist | Recorded Live 10/23/72 | ||
Etude‑Tableau, Op. 39, No.2/Emanuel Bay, pianist | 10/16/46 | D6‑RB‑2184‑1 | |
Oriental Sketch, Op. 2, No. 2 | |||
1st recording: Emanuel Bay,
pianist |
10/16/46 | D6‑RB‑2183‑3A | |
2nd recording: Brooks Smith,
pianist |
5/4/67 | UR‑A3‑1528 | |
Vocalise, Op. 34, No.14/Emanuel Bay, pianist | 12/18/47 | D7‑RC‑6985‑2A | |
Ravel | |||
Menuet (from Sonatine in F‑Sharp)/Emanuel Bay, pianist | 12/18/47 | D7‑RC‑6982‑1 | |
Piano Trio in A Minor/Artur Rubinstein, pianist/Gregor Piatigorsky, cellist | 8/28/50 | EO‑RC‑0386‑1,87‑1 |
88‑1 89‑1 90‑1 91‑1 |
Piece en forme d'habanera/Milton Kaye, pianist | c. 1945 | 72443 | |
Tzigane (Rhapsodie de concert) | |||
1st recording: Arpad Sandor,
pianist |
2/6/34 | CS‑789 |
75‑2 76‑2 |
2nd recording: Los
Angeles Philharmonic/Alfred Wallenstein, conductor |
12/8/53 | E3‑RC‑3072‑3073 | |
3rd recording: Brooks Smith, pianist |
Recorded Live 10/23/72 | ||
Valses nobles et sentimentales: Nos. 6 and 7 | |||
1st recording: Emanuel Bay,
pianist |
10/16/46 | D6‑RB‑2186‑2A | |
2nd recording: Brooks Smith,
pianist |
4/14/65 | SR‑A3‑3848 | |
Respighi | |||
Sonata in B Minor (1917)/Emanuel Bay, pianist | 4/5/50 | EO‑RC‑0315‑lC |
16‑1F 17‑1E 18‑IC 19‑1C 20‑IC |
Rimsky‑Korsakoff | |||
Flight of the Bumblebee (from Tsar Saltan) | |||
1st recording: Arpad Sandor, pianist |
2/3/34 | BS‑81352‑2 | |
2nd recording: Emanuel Bay,
pianist |
10/18/46 | D6‑RB‑3107‑1 | |
Hymn to the Sun (from Le Coq d'or)/Emanuel Bay, pianist | c. 1945 | 73204 | |
Rozsa | |||
Concerto, Op. 24/Dallas Symphony Orchestra/Walter Hendl, conductor | 3/27/56 | G2‑RB‑2970‑2972 | |
Tema con variazoni (from Concerto for Violin, Cello and Orchestra, 1962)/Gregor Piatigorsky, cellist/Chamber Orchestra | 10/7/63 | PR‑A5‑4536 | |
Saint‑Saens | |||
Havanaise, Op. 83 | |||
1st recording: Isidor Achron, pianist |
12119/24 | C‑31382‑3 | |
2nd recording: London Symphony Orchestra/John Barbirolli, conductor |
4/37 | 2EA‑47 |
44‑lA 45‑1A |
3rd
recording: RCA Symphony Orchestra/William Steinberg, conductor |
6/18/51 | El‑RC‑2420‑3 | 21‑1 |
Introduction and Rondo Capriccioso, Op. 28 | 3/35 | 2EA‑14 |
50‑2 51‑2 |
1st recording: London Philharmonic/John Barbirolli, conductor |
|||
2nd
recording: RCA Symphony Orchestra/William Steinberg, conductor |
6/19/51 | El‑RC‑24 |
22‑2 23‑2 |
Sonata in D Minor, Op. 75 | |||
1st recording: Emanuel Bay, pianist |
4/7/50 | EO‑RC‑0330‑lA |
31‑1C 32‑1C 33‑1C 34‑1C 35‑1C |
2nd
recording: Brooks Smith, pianist |
5/2,3/67 | UR‑A3‑1519‑1520 | |
The Swan (from Carnival of the Animals) | |||
1st recording :Emanuel Bay, pianist |
c. 1945 | 73207 | |
2nd recording
‑ Brooks Smith, pianist |
4/14/65 | SR‑A3‑3851 | |
Sarasate | |||
"Carmen" Fantasy, Op. 25/Isidor Achron, pianist | 12/19/24 | C‑313 | 83‑2 |
Danzas Espanolas: | |||
No. 1: Malaguena, Op. 21, No.1Andre Benoist, pianist |
12/19/17 | C‑212 | 70‑3 |
No. 2: Habanera, Op. 21, No.2/Isidor Achron, pianist |
12/18/24 | C‑270 | 46‑3 |
No. 3: Romanza Andaluza,
Op. 22, No.1/Emanuel Bay, pianist |
10/18/46 | D6‑RC‑5644‑2 | |
No. 6: Zapateado, Op. 23, No.2/ | |||
1st
recording ‑ Andre Benoist, pianist |
10/4/18 | B‑222 | 73‑1 |
2nd recording: Isidor Achron, pianist |
12/31/26 | CVE‑222 | 73‑4 |
3rd recording: Emanuel Bay, pianist |
10/19/46 | D6‑RB‑3114‑1 | |
Introduction and Tarantelle, Op.43/Andre Benoist, pianist | 10/3/18 | C‑22268‑1 | |
Zigeunerweisen, Op. 20, No.1 | |||
1st recording: Samuel Chotzinoff, pianist |
10/13,14/19 | C‑23410‑2,07‑2 | |
2nd recording: London Symphony Orchestra/John Barbirolli, conductor |
4/37 | 2EA‑47 |
46‑2 47‑2A |
3rd
recording: RCA Symphony Orchestra/William Steinberg, conductor |
6/16/51 | El‑RC‑241 |
8‑1 19‑1 |
Schubert | |||
Ave Maria, Op. 52, No. 6 (D. 839) | |||
1st recording: Andre Benoist,
pianist |
11/9/17 | C‑210 | 72‑1 |
2nd recording: Isidor Achron,
pianist |
12/31/26 | CVE‑210 | 72‑4 |
3rd
recording: Emanuel Bay, pianist |
10/19/46 | D6‑RC‑56 | 48‑2A |
Fantaisie in C, Op. 159 (D. 934)/Brooks Smith, pianist | 9/19,20/68 | WR‑A3‑6721 | |
Impromptu in G, Op. 90, No. 3 (D. 899)2/Arpad Sandor, pianist | 2/6/34 | CS‑78974‑2A | |
Piano Trio in B‑Flat, Op. 99 (D. 898)/Artur Rubinstein, pianist/Emanuel Feuermann, cellist | 9/13/41 | PCS‑061644‑2R |
45‑1 46‑2 47‑2 48‑4 49‑2 50‑3 51‑3 |
Quintet in C, Op. 163 (D. 956)/Israel Baker, violin/William Primrose, viola/Gregor Piatigorsky, Gabor Rejto, cellos | 11/30/61 & 12/1/61 | M2‑RB‑3593‑3596 | |
Rondo (from Piano Sonata N o_. 17 in D, Op.53, D. 850)21 | |||
1st recording: Isidor
Achron, pianist |
12/31/26 | CVE‑389 | 48‑2 |
2nd recording: Emanuel Bay, pianist |
10/18/46 | D6‑RC‑56 | 45‑1A |
Sonatina in G Minor, Op. 137, No. 3 (D. 408)/Emanuel Bay, pianist | 12/1/53 | E3‑RC‑3332‑3334 | |
String Trio in B‑Flat (D. 581)/William Primrose, violist/Gregor Piatigorsky, cellist | 8/16,22/60 | L2‑RB‑2501‑2504 | |
Schumann | |||
Vogel a Is Prophet (The Prophet Bird) (No. 7 from Waldscenen, Op. 82P)/Emanuel Bay, pianist | c. 1945 | 73203 | |
Widmung (No.1 from Myrthen)/Samuel Chotzinoff, pianist | 10/13/19 | B‑234 | 03‑2 |
Scott | |||
Tallahassee Suite: | |||
No. 1: Bygone Memories | 3/37 | OEA‑48 | 53‑1 |
No. 2: After Sundown | 3/37 | OEA‑48 | 54‑1 |
No. 3: Danse negre | 3/37 | 2EA‑48 | 55‑3 |
Emanuel Bay, pianist (previously unissued) |
|||
The Gentle Maiden/Isidor Achron, pianist | 12/18/24 | B‑31379‑1 | |
Sgambati | |||
Serenata Napoletana, Op. 24, No.2/ Brooks Smith, pianist | 12/10/54 | E4‑RC‑0698 | |
Shostakovich | |||
Danse fantastique, Op. 5, No.1/Emanuel Bay, pianist | 12/18/47 | D7‑RB‑2199‑IA | |
Prelude in C‑Sharp Minor, Op. 34, No. 1011/Emanuel Bay, pianist | c. 1945 | 73184 | |
Prelude in D‑Flat, Op. 34, No.15/Emanuel Bay, pianist | c. 1945 | 73184 | |
Shulman | |||
Cod Liver' lle (from Suite Based on Amerocan Folk Songs)/Brooks Smith, pianist | 12/16/55 | F2‑RB‑8362 | |
Sibelius | |||
Concerto in D Minor, Op. 47 | |||
1st recording: London Philharmonic/Sir Thomas Beecham, conductor |
11/35 | 2EA‑28 |
18‑2 19‑1 20‑1 21‑2 22‑3 23‑3A 24‑3 25‑2 |
2nd recording:
Chicago Symphony Orchestra/Walter Hendl, conductor |
1/10,12/59 | K2‑,RB‑0073‑0075 | |
Nocturne (No. 3 from Belshazzar's Feast, Op.5)/Brooks Smith, pianist | 5/4/67 | UR‑A3‑1523 | |
Sinding | |||
Suite in A Minor, Op.10/Los Angeles Philharmonic/Alfred Wallenstein, conductor | 12/9/53 | E3‑RC‑3010‑3012 | |
Spohr | |||
Concerto No. 8 in A Minor, Op. 47 ("Gesangsscene")/RCA Symphony Orchestra/Izler Solomon, conductor | 11/3/54 | E4‑RC‑0547‑0548 | |
Double Quartet in D Minor, Op.65IIsrael Baker, Pierre Amoyal, Paul Rosenthal, violins/Milton Thomas, Allan Harshman, violas/Gregor Piatigorsky, Laurence Lesser, cellos | 6/24,25/68 | WR‑A3‑1504‑1507 | |
Strauss, Richard | |||
An einsamer Quelle (No. 2 from Stimmungsbilder, Op. 9)/Arpad Sandor, pianist | 3/34 | 2B‑6042‑3 | |
Sonata in E‑Flat, Op.18 | |||
1st recording: Arpad Sandor,pianist |
2/6/34 | CS‑789 |
67‑1 68‑1 69‑1 70‑2 71‑2 72‑2 73‑2 |
2nd recording: Brooks Smith, pianist | 12/10/54 | E4‑RC‑0639‑0641 | |
3rd recording: Brooks Smith, pianist |
Recorded Live 10/23/72 | ||
Stravinsky | |||
Berceuse (from Firebird)/Emanuel Bay, pianist | 12/18/47 | 137‑RB‑21994A | |
Suite italienne/Gregor Piatigorsky, cellist | 10/14/63 & 11/12/63 | ||
Szymanowski | |||
Chant de Roxane (from Le Roi Roger) 13/Emanuel Bay, pianist | 12/35 | 2EA‑25 | 80‑1 |
Tansman | |||
Mouvernent perpetuel (from 5 Pieces for Violin and Piano)/Emanuel Bay, pianist | 12/18/47 | D7‑RC‑69 | 82‑1 |
Tchaikovsky | |||
Concerto in D, Op. 35 | |||
1st recording: London Philharmonic/John Barbirolli, conductor |
3/37 | 2EA‑470 |
9‑l A 10‑2 11‑2A 12‑1A 13‑1A 14‑1 15‑1A 16‑1 |
2nd
recording:
Philharmonia Orchestra/Walter Susskind, conductor |
7/19,20/50 | 2EA‑148 |
04‑1R 05‑1 06‑1 07‑3 08‑1 09‑1 10‑4 11‑1 |
3rd
recording:
Chicago Symphony Orchestra/Fritz Reiner, conductor |
4/19/57 | 42‑RB‑3505‑3506 | |
Canzonetta (2nd Movement) /Orchestra conducted by Josef Pasternack |
9/17/20 | C‑24475‑2 | |
Melodie (No. 3 from Souvenir d'un lieu cher, Op.42)/Emanuel Bay, pianist | c. 1945 | 73200 | |
Piano Trio in A Minor, Op.50/Artur Rubinstein, pianist/Gregor Piatigorsky, cellist | 8/23,24/50 | EO‑RC‑03, |
70‑2 71‑1 72‑1 73‑2 74‑IAR 75‑1 76‑1 77‑1AR 78‑1 79‑2 |
Serenade melancolique, Op.26 | |||
1st recording:
Orchestra conducted by Josef Pasternack |
9/18/20 | C‑24478‑2 | |
2nd
recording:
Los Angeles Philharmonic/Alfred Wallenstein, conductor |
10/29/54 | E4‑RC‑9000 | |
3rd recording: Chamber Orchestra |
7/8/70 | ZR‑A3‑3855 | |
Scherzo (No. 2 from Souvenir d'un lieu cher, Op. 42)/Samuel Chotzinoff, pianist | 10/13/19 | B‑23406‑2 | |
Valse (No. 2 from Serenade in C, Op. 48) | |||
1st recording:
Orchestra conducted by Josef Pasternack |
10/14/19 | C‑23409‑3 | |
2nd recording: Chamber Orchestra |
7/10/70 | ZR‑A3‑3856 | |
Toch | |||
Divertimento, Op. 37, No.2/Gregor Piatigorsky, cellist | 4/16/65 | SR‑A3‑1480 | |
Traditional | |||
Deep River (Negro Spiritual)/Milton Kaye, pianist | c. 1945 | 72456 | |
Turina | |||
Trio in D Minor, Op. 35/Leonard Pennario, pianist/Gregor Piatigorsky, cellist | 11/6/63 | PR‑A5‑5876‑5878 | |
Valle, F | |||
Ao pe da fogueira (Prelude XV)/Emanuel Bay, pianist | c. 1945 | 73182 | |
Vieuxtemps | |||
Concerto No. 4 in D Minor, Op.31/London Philharmonic/John Barbirolli, conductor | 3/35 | 2EA‑14 |
44‑1 45‑1 46‑1 47‑1 48‑2 49‑2 |
Concerto No. 5 in A Minor, Op. 37 | |||
1st recording: London
Symphony Orchestra/Sir Malcolm Sargent, conductor |
1/8/47 | 2EA‑12513‑1 |
14‑2 15‑1 16‑2 |
2nd recording: New
Symphony Orchestra of London/Sir Malcolm Sargent, conductor |
5/15,22/61 | M2‑RY‑8178‑8179 | |
Vitali | |||
Chaconne in G Minor/Richard Ellsasser, organist | 8/4/50 | EO‑RC‑03 |
13‑lB 14‑2B |
Vivaldi | |||
Concerto in B‑Flat, Op. 22, No. 2 (P 388)/Gregor Piatigorsky, cellist/Malcolm Hamilton, harpsichordist/Chamber Orchestra | 10/10/63 | PR‑A5‑4538 | |
Sonata in A, Op. 2, No.2/Arpad Sandor, pianist | 2/34 | OB‑60 |
50‑2 51‑1 |
Walton | |||
Concerto in B Minor (1939) | |||
1st recording: Cincinnati Symphony Orchestra/Eugene Goossens, conductor | 2/18/41 | CS‑0625 |
00‑2 01‑1A 02‑3 03‑2R 04‑1 05‑1 |
2nd recording: Philharmonia Orchestra/William Walton, conductor | 7/26,27/50 | 2EA‑148 |
47‑3 48‑1 49‑4 50‑2 51‑3 52‑1R |
Waxman | |||
"Carmen" Fantasy/RCA Symphony Orchestra/Donald Voorhees, conductor | 11/8/46 | D6‑RC‑62 |
73‑2 74‑3A |
Weill | |||
Moderato assai (from The Threepenny Opera)/Emanuel Bay, pianist | c. 1945 | 73199 | |
White, C. C. | |||
Levee Dance, Op. 27, No.2/Milton Kaye, pianist | c. 1945 | 72444 | |
Wieniawski | |||
Capriccio‑Valse, Op. 7/Brooks Smith, pianist | 5/4/67 | UR‑A3‑1525 | |
Concerto No. 2 in D Minor, Op. 22 | |||
1st recording:
London
Philharmonic/John Barbirolli, conductor |
3/35 | 2EA‑14 |
52‑2 53‑1 54‑2 55‑1 56‑1 |
2nd recording: RCA
Symphony Orchestra/lzler Solomon, conductor |
11/5/54 | E4‑RC‑0549‑0551 | |
Romance/Andre Benoist, pianist | 10/3/18 | C‑22266‑2 | |
Polonaise brillante in D, Op.4 | |||
1st recording: Emanuel
Bay, pianist |
3/37 | 2EA‑48 | 56‑2 |
2nd recording (featured in the
film "Of Men and Music")/Emanuel Bay, pianist |
1950 | E2‑RC‑02 | 82‑1 |
Scherzo‑Tarantelle, Op. 16 | |||
1st recording: Andre
Benoist, pianist |
11/9/17 | C‑210 | 69‑3 |
2nd recording: Arpad Sandor,
pianist |
2/34 | 2B‑60 | 67‑2 |
3rd recording (featured in the film "Of Men and Music")/Emanuel Bay, pianist |
1950 | EO‑RC‑18 | 65‑1 |
Transcribed or arranged by: | |||
|